This research tackles the phenomenon of dialogue in Alhothaliyen
stories presenting reasons for studying it, then it defines a dialogue linguistically and idiomatically.It also highlights its purpose, its relationship to the pillars of the creative
process, and methods in the old rhetorical Arab heritage and modern criticism.
The body of this research is an applied study of the types of
dialogue in lamentation, flirtation and blame stories, and methods
of composing poetry such as (command and negation,
interrogation, question and answer.
The research concludes that the methods for composing a dialogue (switching, conditional, and compositional styles) added a poetic feature to the text and a realistic dimension to the event, and revealed the poet's emotions and his psychological approach toward the event.
Surrender to the actions/deeds of time is one of the most prominent targets revealed by lamentation and flirtation in a dialogue, as there is no point in blaming time
This research seeks to explore the role of deviation in the poetics
of operative language on the one hand, its revelation of the artistry
of thrill and surprise in terms of rhetorical images on the other hand,
through analysing the poetic text which starts from actual language
towards the spaces of rhetorical images, and combines the internal
and the external as the text suggests.
The research deals with the aesthetics of the artistic image in the
prose text of the Umayyad period and how did it add more poetry to
prose;
This is because of the large number of images analogous and
metaphorical and canonical.
The study deals with the aesthetics of poetic language as the most
prominent object of the literary interplay in the prose text of the
writers, preachers and apostles of the Umayyad period.
Poetry is concerned with the means and techniques that characterize poetic speech
from ordinary speech. It expresses poetry in an intensive manner and with several
techniques that perform an aesthetic function in the way of building technology on t
he one
hand and its consistency with the entire text on the other hand, as well as adding to the
meaning of exaggeration and influence. The first part dealt with the concept of poeticism,
the second dealt with the characteristics of poetic language, and the second part dealt with
the language of poeticism. Section III talks about the changes of the concept and its causes.
A text’s poetic characteristic is what gives it its literary attribute .The poetic characteristic
of a structural constituent is what gives it the main attribute amongst others. Scholars,
therefore, are interested when attempting to identify the p
oetic quality in tracing the
technique, whose effective presence, along with its links to other set constituents, indicates
that the studied text is distinguished for its poetic characteristic .Each artistic means, which
is significant in indicating the implication of the text, is a poetic means. This is the paper’s
hypothesis in illustrating the significance of contrast, relying upon a set of theoretical
postulates, of which some are confined to linguistics, although they have their basis in
Arab linguistic and rhetorical discourse. They help a scholar in drawing rhetorical
conclusions, in the aftermath of examining the texts. As for the practical objective, the
paper will try to make use of the theoretical postulates in dealing with one of al-
Mutanabby’s texts, which are strikingly rich with contrasts: their abundance on the text's
level. Thus , al-Mutanabby invested it [contrast] in weaving a network of relations linking
the signified, whereby contrast is their main linking device, and the first controlling factor
in directing them towards giving the text a consistent poetic structure.
